“Bitch.”
“Bastard.”
Simply one of the best films of the 1960s and one that teaches me something profound about relationships every time I watch it. It’s odd to think of this as a comfort film for me, with so much of it dealing with frustrations, heartbreak, and the ways people grow apart. And yet — a comfort film it is. The glimmers of hope that shine through the clouds of apathy and mistrust, the big scoop of black comedy keeping…
I’ve never yelled “Just fuck already” and “Please don’t punch another horse” more times while watching a movie.
Jane Campion’s direction is exquisite across the board, dovetailing beautifully with Ari Wegner’s immaculate cinematography of rural New Zealand doubling as 1920s Montana. That spine-chilling dueling piano/banjo scene is a masterclass in both directing and cinematography with the eerie camerawork.
Enjoyed the performances, and I’m sure some combination of actors will get nominated in the spring, but no one wowed me enough…
How can Peter Falk be so slyly funny and effortlessly heart-breaking at the same time? Truly one of the most empathetic actors full stop.
Fuck yes. Everybody's firing on all cylinders in this. Soderbergh's direction. Koepp's script. That sexy production design. Fassbender anchoring. Blanchett kills it and she's never been hotter. Marisa Abela wows in every scene she's in. This is the kind of original, smart film studios should be clamoring to make twenty of each year. Yowzer.
Joe Biden has done nothing to lower the price of guzzoline
Conceptually strong, but the narrative just didn’t work particularly well for me. It takes forever to get the ball rolling, which is unusual for an Edgar Wright script. There’s so much set-up and explanation before you get to anything entertaining that when the concept finally crystallizes in the last few minutes, it doesn’t feel especially worth the slog.
Creative elements aside, Wright still knows how to make a technically effective film. The snappy transitions don’t work as well as his…
